Viewing entries tagged
coal mining impact
I joined the podcast Utopias with Dr. Ramesh Srinivasan to talk about my film King Coal. I explained my approach to documentary filmmaking and the tension between loyalty and truth in my community of Central Appalachia. We also discussed the work of repair that can lead to a brighter future.
Question: I feel like everything would look and sound better on-screen if I could just learn to slow down, but when I’m on location I’m always worried I’m taking too much time to set up, get my shots, etc. Any advice on taking up space, taking your time, etc.?
Answer: I’m uncomfortably familiar with the nagging feeling that I’m taking up too much time or space while on location. You might worry that your participants are getting impatient, that you’re slowing down the shoot, or that you’re taking too long to get set up. But here’s the truth: quality storytelling requires time, patience, and presence.
The best documentaries result from allowing life to unfold in front of the camera, which takes more time than most people realize. Learning how to balance your needs as a filmmaker with respect for your participants’ time is crucial, but you should never rush the process at the expense of the story.
I also want to note that there tend to be two extremes here. There are people who (like the person asking the question) are afraid to take up any space, and those who take up too much space. Neither approach is helpful. We are seeking a balance between respect for the participants’ time, and a respect for their/your story. You are there, after all, to do a job. You are not there to take, extract, or “capture” something in a greedy way. Developing your filmmaking maturity is key to finding the balancing act of slowing down while being respectful.
I am so deeply saddened to learn about Julia Reichert's (far left) passing. Julia was an Oscar-winning documentarian, who leaves behind a legacy filled with powerful reflections on the working class, and the role of filmmaking in activism. I was privileged to spend quite a bit of time with Julia in 2016, when we were both awarded the Chicken & Egg Breakthrough Filmmaker Award. Read about Julia's legacy here and take the time to watch some of her and Steve Bognar's incredible work, including American Factory on Netflix.
Julia and I bonded over the fact that we both chose, and derive great joy, from being rooted in "a place." She, in Ohio - me, in Appalachia. We spoke a lot about ethics, representation, and our responsibility to our communities and the documentary field, as a whole. She was a tough critic, which today I am very thankful for, but more importantly an advocate and cheerleader for us filmmakers, who are based outside of our industry's center.
I will carry Julia's spirit with me.
Thank you Julia, for all that you contributed to our world.
Memorable quotes from Julia Reichert, reflecting her core principles around storytelling and activism
"I want to make films about people that are ignored, people who are invisible, people who have been left out of history."
“The idea of fairness, that’s very deep in me. And that’s why I became a filmmaker — to be part of the process of telling untold stories, of people who don’t get a fair shake."
"I love the idea that filmmakers are organizers, because the job of an organizer is to help bring about change and to help people see the world in a new way."
"I believe in the power of ordinary people. I believe that’s where the change has to come from, not from the top."
READ more here on IDA and here on MoMA.
I am honored to have been in the presence of these two greats who have since departed - D. A. Pennebaker and Julia Reichert.
Below is a post based on my book notes (with page number references) after reading the essays in the collection “Essential Deren: Collected Writings on Film.” I highly recommend you get your hands on a copy.
Deren’s films were a source of inspiration for me when I was making KING COAL. From editing techniques to the use of choreography, I was often referencing her film “At Land.” Below are some of the practical insights I drew from Deren’s films and theories, which can serve as guidance for filmmakers who wish to explore cinema as an art form.
BIO:
Maya Deren was an influential filmmaker, choreographer, and theorist who played a pivotal role in shaping American avant-garde cinema in the 1940s and 1950s. Born in Ukraine in 1917, Deren moved to the United States as a child and grew up to become one of the most innovative filmmakers of her time. Her work combined surrealism, psychology, mythology, and experimental techniques, and she is often regarded as the mother of American experimental film.
Her films, such as Meshes of the Afternoon (1943), At Land (1944), and Ritual in Transfigured Time (1946), challenged conventional narrative filmmaking by employing dreamlike imagery, nonlinear storytelling, and innovative use of camera techniques. Deren’s films did not rely on traditional plot structures but instead sought to explore inner realities, emotions, and abstract concepts through movement, visual metaphors, and surreal sequences.
FILMS:
Meshes of the Afternoon (1943): This short film is one of her most famous works and is known for its dreamlike atmosphere, symbolic imagery, and exploration of the subconscious mind. In this film, Deren plays a woman who experiences a series of repetitive, surreal events. The film’s non-linear narrative and use of multiple versions of the same character make it a touchstone for understanding how cinema can function as a tool for exploring subjective experience rather than just recording objective reality.
At Land (1944): Deren further pushed the boundaries of film with At Land, where she explored the fluidity of time and space. In the film, a woman (played by Deren) is washed up on a beach and moves through various locations in a seamless, surreal journey. The film uses techniques like continuous movement from one setting to another to create a sense of dreamlike transitions. It’s a great example of how Deren manipulated time and space, turning cinema into an almost mythological voyage.
Ritual in Transfigured Time (1946): This film takes Deren’s interest in movement to a new level by focusing on the ritualistic nature of human actions. It blends choreography, visual poetry, and psychological tension, transforming everyday gestures into a dance-like sequence that elevates the mundane into something symbolic and timeless.
“Cinema can compose rhythms, juxtapose images, and encompass the abstractions of language.”
Deren argued that cinema should not simply imitate other art forms but embrace its distinct capabilities as a medium that combines visual art, movement, and rhythm (p. 113). In her films, she experimented with narrative structures, avoiding conventional storytelling in favor of exploring inner worlds and subjective experiences.
Takeaway: Think of film as an art form that combines movement, time, and space in ways that no other medium can.
Deren introduced the concept of the “controlled accident,” where filmmakers maintain a balance between orchestrated elements and natural, spontaneous occurrences (p. 118-119). She allowed natural forces like wind and light to influence her films, blending them with intentional artistic choices.
Takeaway: Embrace the unpredictability of the world around you. Let natural elements—such as weather or the movements of non-professional actors—enhance the realism and texture of your film. In At Land, Deren uses the sea and the movement of the tide as part of the narrative, making nature a character in its own right.
One of Deren’s most notable contributions to film is her exploration of time and space manipulation. In At Land (p. 121-126), she seamlessly transitions between locations, creating a fluid movement that blurs the lines between different settings. This allowed her to create surreal, dreamlike sequences that expanded the viewer's sense of reality.
Takeaway: Use editing and camera techniques to create fluidity between disparate places and times. This can evoke a dreamlike or mythological quality in your work. For instance, like we did in King Coal, you might explore the passage of time by juxtaposing historical footage with present-day images, creating continuity between the past and present.
Deren viewed movement as central to the language of cinema, transforming ordinary gestures into poetic expressions (p. 125). “In Ritual in Transfigured Time,” everyday actions become part of a larger, ritualistic choreography, elevating them beyond their functional purpose.
Takeaway: Focus on the inherent beauty and rhythm of movement within your film. By highlighting movement, even in mundane actions, you can turn them into a visual metaphor.
INSERT VIDEO OF CELIA AND I TALKING ABOUT CHOREOGRAPHY
For Deren, editing was not merely a way to assemble shots but a means of creating entirely new realities (p. 137-139). In Meshes of the Afternoon, she uses repetition and looping to convey the experience of being trapped in a dream, making editing a tool for constructing the narrative rather than just organizing it.
Takeaway: Use editing to shape and transform the viewer’s perception of time, space, and narrative. Through techniques like repetition, jump cuts, or visual metaphors, you can create new layers of meaning that wouldn’t exist without the filmic medium.
Deren believed that cinema’s magic lay in its ability to make the fantastical seem real (p. 202). She often created new worlds or realities in her films by manipulating simple cinematic elements. This magical quality is present in works like Meshes of the Afternoon, where dream logic governs the film’s structure.
Takeaway: Use simple yet imaginative techniques to transform the mundane into the magical. Experiment with visual effects or editing techniques that create a sense of wonder or surrealism. In a project like King Coal, you might enhance the emotional power of a scene through surreal, symbolic visuals that depict the landscape as more than just a setting—it becomes a character, filled with meaning.
Deren planned her films visually (see below for an example of her film A Study In Choreography For Camera), ensuring that each shot could communicate her ideas without relying on abstract or unfilmable concepts (p. 153). She emphasized the importance of thinking visually, avoiding the trap of trying to represent abstract ideas like “never” or “forever” through purely narrative means.
storyboards from “A Study in Choreography for Camera”
Takeaway: Focus on how you can visually express the central ideas of your film. Instead of relying on dialogue or narration to communicate abstract concepts, find ways to show them visually. For example, rather than explaining the decline of the coal industry, King Coal might use visual metaphors like crumbling buildings or overgrown landscapes to evoke loss and transition.
Deren’s films often use extended or slowed-down shots to create tension and draw attention to moments that would otherwise go unnoticed (p. 141). In “At Land,” her use of slow motion emphasizes the protagonist's journey in a way that heightens the viewer’s emotional investment.
Takeaway: Play with the pacing of your shots to create moments of tension or reflection. Extend certain scenes to allow the audience to fully absorb their significance.
Deren compared filmmaking to poetry, where the logic is not narrative but emotional and rhythmic (p. 211). She argued that films should not be bound by conventional narrative structures but should follow their own internal rhythm and logic, much like a musical composition.
Takeaway: Approach filmmaking as a poetic medium. Rather than being confined to traditional storytelling techniques, let your film evolve organically, with a focus on mood, atmosphere, and emotion. You might create sequences that focus on the sensory experience of the landscape or the rhythmic patterns of work, allowing the viewer to engage with the film as they would with a poem or piece of music.
Maya Deren’s films remind us that cinema can transcend mere narrative, focusing instead on the power of movement, time, and visual poetry.
We're so honored that "‘Heroin(e)" was chosen - among an outstanding group of contenders - as the winner of the 2018 Emmy for "Outstanding Short Documentary." We dedicate this award to America's first responders, those in longterm recovery, and those still suffering from substance use disorder.
Read more.
I’m so excited to announce that my feature-length documentary, “Recovery Boys,” premieres today on Netflix and in theaters 6/29-7/5 in NYC (Metrograph) and LA (Laemmle Music Hall).
When we started making this film in 2016, we were interested in better understanding the process of recovery through the experiences of four men at a farming-based rehab in Aurora, W.Va. These incredible men opened their lives to us and for that we’re eternally grateful. It is their raw honesty and vulnerability that we know can make positive change in our society.
We hope that you'll watch the film, share with friends and family, and consider hosting a community screening to increase conversation around the country about the opioid crisis.
Visit our website to request a screening and download our educational guide.
We would love to hear your thoughts after watching - get in touch!
Elaine
“Unearths moments of raw revelation that quietly highlight our shameful lack of effective help…A moving yet cautionary tale and a painful reminder that recovery is a journey that never really ends.”
“Intimate, poignant, and raw, establishing Sheldon as one of the most vital documentary filmmakers at the moment, especially on the often misunderstood subject of addiction. The social impact of a film like this shouldn’t be understated. Recovery Boys is a film with the power to break down potentially judgmental barriers that can stop someone’s chances to clean up their lives dead in their tracks.”
“Set in the middle of this crisis, the film provides an exploration of male emotions will be refreshing to anyone who has grown accustomed to staid representations within popular culture, as will the film’s focus on people in recovery instead of people suffering from addiction.”
“A sober and unflinching glimpse into the heart of America’s opioid epidemic”
“Sensitive and life-affirming”
“At times, ‘Recovery Boys’ is difficult to watch, both in its depiction of drug abuse and in the painful events that occur in the men’s lives. The goal of the film is clearly not to bring audiences down, though, but increase compassion for those who struggle with addiction. Life has not been easy for any of the ‘recovery boys,’ but they approach their 18 months in rehab with so much integrity and determination that it’s impossible to not cheer for them while watching the film.”
“The immediate social impression of Recovery Boys is tremendous.”
“There’s a tendency in politics to turn real misery into platitudes and abstractions; Elaine McMillion Sheldon’s documentary is the antidote.”
A Netflix Original Documentary
DIRECTOR:
Elaine McMillion Sheldon
PRODUCERS:
Kerrin Sheldon
Kristi Jacobson
Elaine McMillion Sheldon
EXECUTIVE PRODUCERS:
Jason Spingarn-Koff
Zana Lawrence
Lisa Nishimura
EDITOR:
Penelope Falk
DIRECTOR OF PHOTOGRAPHY:
Kerrin Sheldon
COMPOSER:
Daniel Hart
CINEMATOGRAPHERS:
Kerrin Sheldon
Elaine McMillion Sheldon
ADDITIONAL CAMERA:
Daniel Kusnir
Gregory D. Neiser
SOUND RECORDISTS:
Elaine McMillion Sheldon
Kerrin Sheldon
FIELD RECORDIST:
Billy Wirasnik
POST PRODUCTION SUPERVISOR:
Jean Lane
ASSISTANT EDITORS:
John Fisher
Laura Karpas
ONLINE ASSISTANT EDITOR:
Frances Boone
ADDITIONAL EDITORS:
Elaine McMillion Sheldon
Kerrin Sheldon
MUSIC SUPERVISOR:
Doug Bernheim
SOUND DESIGNER and RE-RECORDING MIXER:
Tom Paul (Gigantic Studios)
SOUND EDITOR:
Kevin Peters (Gigantic Studios)
SOUND ASSISTANT:
Nathan Hasz (Gigantic Studios)
COLORIST:
Seth Ricart (RCO)
COLOR ASSISTANTS:
Bo Kim (RCO)
Natasha Wong (RCO)
COLOR PRODUCER:
Sheina Dao (RCO)
TITLE DESIGNER:
Chris Rubino
WITH SUPPORT FROM:
Threshold Foundation
Chicken & Egg Pictures
Chicago Media Project’s Impact Grant Fund
Documentary Educational Resources
Southern Documentary Fund
Points North Documentary Institute
Good Pitch
IFP
All Y'all Southern Documentary Collective
The Daily Show: "The Grassroots Battle Against Opioid Addiction"
We finished sound design and color grading on our feature documentary!
"Heroin(e)" team: Curren Sheldon (Producer/DP), me, and Kristen Nutile (Editor) at the 2018 Cinema Eye Honors at the Museum of Moving Image.
I am so fortunate to be one of 45 artists chosen as a 2018 USA Fellow.
Photo of Huntington Fire Chief, Jan Rader: By Rebecca Kiger/Netflix
We're so honored and humbled to share that "Heroin(e)" has been nominated for an Academy Award. "Heroin(e)" examines a public health crisis that many communities are struggling with, so for this topic to have captured the attention of the Academy means so much to us, as filmmakers, and to those on the front lines. As native West Virginians living in the midst of this crisis, we believe the stories of these three tenacious and resilient women are what this country needs - a message of hope and survival to show us a way forward.
Thanks to all of you for the ongoing support!
-Elaine & Curren
1/27/2018 Free Naloxone Training and "Heroin(e)" Screening (Charleston, W.Va.)
2/15/2018 "Heroin(e)" screening at the WV Legislature (Charleston, W.Va.)
2/15/2018 Free Public Screening of "Heroin(e)" at University of Charleston (7-8:30 PM)
2/22/2018 Appalachian Narratives: Notes on Identity (Huntington, W.Va.)
3/8/2018 WVU Women's History Month Exhibit (Morgantown, W.Va.)
Host your own community screening using our screening guides here: https://recoveryboysthefilm.com/resources/
RECENT PRESS
1/2018: The Hollywood Reporter
1/2018: Moveable Fest
1/2018: WestDoc Live
1/2018: Roll Call
1/2018: Charleston Gazette-Mail
1/2018: ANNA Magazine
11/2017: WMMT Radio
11/2017: The New Republic
11/2017: NPR 1A
11/2017: Think Progress
11/2017: The Washington Post's "The Lily"
11/2017: The Hollywood Reporter
10/2017: MSNBC Meet The Press Daily
9/2017: Mother Jones
I'm so excited to announce that "Heroin(e)" is now available for streaming on Netflix. I can't wait for each and every one of you to meet Jan Rader, Necia Freeman and Patricia Keller. As filmmakers, we have witnessed first-hand how their dedication, empathy and courage changes lives on a daily basis in Huntington, W.Va. and now you, the viewer, can experience their passion through this 39-minute film.
After our screening at Telluride, several people approached me and shared their personal story of loss and desire to bring this film to their community. I'm happy to report that Netflix has made "Heroin(e)" available for educational/non-profit screenings, which allows individuals and organizations to host events and start conversations around this film. In the coming weeks, our website will include FAQs and guides that will instruct you how to host a screening in your community.
If this story impacts you personally, or you just want to share your thoughts after watching, please do so by using the hashtag #HeroineNetflix. This allows us to track the conversation and impact that this film is having on audiences.
Also, on Sunday, September 17, please join us at the Camden International Film Festival where we will be screening "Heroin(e)" followed by a panel of experts on the opioid crisis. RSVP here.
Enjoy the film, share with friends and family, and please reach out with any feedback or thoughts.
Thank you!
-Elaine McMillion Sheldon
Listen to the interview on West Virginia Morning (NPR)
Read the interview on 100 Days in Appalachia
Watch and share the trailer #HeroineNetflix
Read and share with your local media
I'm so excited to announce that my latest film, "Heroin(e)" will premiere this weekend at the 2017 Telluride Film Festival. "Heroin(e)" chronicles the stories of three women working to break the cycle of drug abuse and overdose in Huntington, West Virginia - a city with an overdose rate 10 times the national average.
"Heroin(e)" is a Netflix Original Short Documentary and was supported by The Center for Investigative Reporting's Glassbreaker Films Initiative.
-Elaine McMillion Sheldon
—
Once a bustling industrial town, Huntington, West Virginia has become the epicenter of America’s modern opioid epidemic, with an overdose rate 10 times the national average. This flood of heroin now threatens this Appalachian city with a cycle of generational addiction, lawlessness, and poverty. But within this distressed landscape, Peabody Award-winning filmmaker Elaine McMillion Sheldon (Hollow) shows a different side of the fight against drugs -- one of hope. Sheldon highlights three women working to change the town’s narrative and break the devastating cycle of drug abuse one person at a time. Fire Chief Jan Rader spends the majority of her days reviving those who have overdosed; Judge Patricia Keller presides over drug court, handing down empathy along with orders; and Necia Freeman of Brown Bag Ministry feeds meals to the women selling their bodies for drugs. As America’s opioid crisis threatens to tear communities apart, the Netflix original short documentary Heroin(e) shows how the chain of compassion holds one town together.
CREDITS:
Directed by Elaine McMillion Sheldon
Produced by Kerrin Sheldon, Elaine McMillion Sheldon
Executive Produced by Jason Spingarn-Koff Zana Lawrence Lisa Nishimura (Netflix)
Executive Produced by Amanda Pike Christa Scharfenberg (CIR)
Cinematography by Kerrin Sheldon
Edited by Kristen Nutile
Music by Daniel Hart
View and share our trailer #heroinenetflix
